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Film reviews

The Life of Chuck Review

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This is a film in three acts—they all go in reverse. Each event carries a multitude of what seems to be on track to be mesmerizing or revolutionary. The tracks of inspiration feel on par, although they come slowly and out of context. The Life of Chuck tries to look at life in different fragments. Directed by Mike Flanagan, it is based off of the novel written by Stephen King. Its introduction brings its audience into a place where it all seems lost, but then it transitions to a form of individuality. Once it gets to that component, it becomes sole focused on one man…Charles ‘Chuck’ Krantz. Thomas Hiddleston plays the older version, Jacob Tremblay plays the middle version, Benjamin Palak plays the younger version, and Cody Flanagan plays the very young version. The universe setting of the film all revolves around Chuck, but where does its meaning truly lie?

The film begins with Marty Anderson (Chiwetel Ejiofor), as he is navigating the many weird disasters surrounding California. This brings him to think of his ex-wife Felicia Gordon (Karen Gillan). In uncharted times of global warming disasters, the imagery of Chuck comes up as a symbol of some meaning. Marty finds himself searching for peace within and a means to reconnect with his life. This all comes from the concept of Chuck being the figure around him, because in every moment of stress, Chuck is the spotlight. Older Chuck comes in, and he has a lot of background as a successful accountant. He is the presence that sparks the attention to finding the meaning of life. However, all of this dismisses the global warming factor in a heartbeat.

The switch over is in Chuck’s life. One of which brings him back to moments of his childhood living with his grandfather Albie Krantz (Mark Hamill). In presenting a childhood of despair the momentum is created for Chuck to be a prodigy of some kind. I appreciate the flowing aspect of seeing one having his ups and downs, especially when it comes to being a pro at doing tap dancing or having a talent for mathematics. At the same time though, I ask myself where is the film going? More just because the opening is a separate event compared to what the film leads into.

There is the saying in the film that goes, “Math can be art, but it can’t life.” That saying spoke to the meaning of the film to me the most, because it made me realize that I had to turn my mind to focus entirely on Chuck’s continuity. The ups, downs, the turmoil, the success, and the childhood—there is a revelation looking for an explanation. The lines though, do not fulfill the context in its entirety. It tends to be a lot because of the cliffhangers that fall in between the reverse storyline approach; however, there is a narration which keeps the film afloat. It is a film that guides the audience to be mesmerized by Chuck. It just does not link to the beginning very well. An artistic approach that has a hard time connecting the importance of a multitude of events  in reverse order. Two-and-a-half out of four stars.

 

Film reviews

The Monkey Review

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When there is a feature of horrific scares from Osgood Perkins, it is an extravagantly adventurous treat. Perkins knows how to create elements full of surprises as a writer and a director. The Monkey contains a lot of them, even including backstories that come before the unexpected. The Monkey is a gem for its stories and the interconnected moments in which karma meets its maker. “The Monkey” is a toy that brings out the evilest of wishes and creates much peril along the way.

Perkins brings us into the story of twins: Hal and Bill (both played by Theo James). They have had a messed-up childhood due to many catastrophic events. Both accidents and bizarre deaths and accidents messed up their lives. Perkins’ focus is revealed in the title. With the presence “The Monkey” many events go awry. From childhood dangers to twisted moments, the brothers find themselves at odds and go their own separate ways. The Monkey is filled with many epic and crazy moments. The tagline on the box that reads, “Like life,” is a quote that describes the hidden can of worms waiting to be opened. Perkins knows how to entertain his audience by adding to the creative treasures The Monkey has to offer.

I was sold was on the concept from Perkins that if one faces tragedy by a stove exploding in their face, then karma is not to be dismissed. As the film continues with Hal and Bill living different lives, escaping “The Monkey” is critical. How well do they know their fate if they have had different outcomes from the many dramas they have encountered? The characterizations of their personalities and perceptions do a tango that is akin to fire from torpedoes flying gloriously and shockingly.

It is an odyssey that feels unreal because of the spectacular heights it reaches. Perkins escalates the fears of the characters and the past to a level where personification meets a new maker. The Monkey left me begging for an outcome, and I got one along with plenty of spooks. While feeling mortified. I also kept thinking about Perkins’ innovative mind. Fans will not be let down; they will be sucked in!

Perkins has a vivid imagination and knows how to place characters in the most unexpected places. With Elijah Wood playing someone who runs a church, I thought to myself that Frodo found Christ. However, it left me with a question. Does faith conflict with the outcomes in The Monkey? It may be problematic for some, but blindsiding as a tactic is essential when creating a scary flick for newer audiences. Perkins establishes a structure where hatred lies, and deadly wishes are likely. The Monkey is a film with many interactions galore that take place in a new breathtaking world.

Deep down the characters’ choices and the film’s pacing made me anxious. Once one fools around with “The Monkey” bad outcomes happen. It is like the Perkins’ version of Final Destination, but Perkins tops that by throwing in evidence and important factors which cause evil to linger in The Monkey. The treacherous feelings were awe-inspiring especially when Hal and Bill must come forth with “The Monkey” again in their lives. The words that rang in my ears were, “Whatever you do…don’t turn the keys in “The Monkey’s” back!”  Not only do the keys represent more to be fearful of, they also brought out one of the most unexpected frights I’ve ever experienced. When a director knows what it takes to shock with many unique qualities, then they also know how to bring in risks that take the cake at a surreal and award-winning level.

The Monkey is by far one of the best films I have seen since the start of this year, particularly especially in the scary movie genre. It creatively divulges and loops into the past to bring in the present. What was once dismissed always comes back with a vengeance in The Monkey. The question is, how badly will the audience want the doors to be opened? They will have to find out for themselves. This is a Perkins’ sensation filled with vivid fascination. A mesmerizing odyssey of a film that shocks its audience well. Four out of four stars for The Monkey.

Film reviews

Presence Review

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Director Steven Soderbergh makes the audience feel like they are the main character in Presence. Written by David Koepp, the story of a moving ghost and making the family the center of attention capture surreal value throughout the entire film. For clarification, the cameras and the whole frame are at the center of the film because every angle of the film moves during each moment of conflict or importance. While it is a bit shaky in some instances, the result is steady and perfect. Nothing even close to the shaky experience in The Blair Witch Project (1999). However, the film’s continuity and movement are clear and concise. I thought a lot about how Koepp’s writing feels like you’re following a story, and in this case it is through the moving angles of a hidden ghost.

The film is focused on a family that moves into a new home. The mom and dad are Rebekah (played by Lucy Liu) and John (played by Chris Sullivan). Their children are Chloe (played by Callina Liang and Tyler (played by Eddy Maday). Once the film begins, the dynamics of this family are captured effectively. Their disagreements weave back and forth through the motions of the camera (and the ghost is the camera.) However, they have a notion that their home is not normal, especially given frequent instances when the house is rumbling, and the lights are flickering. The audience is made to feel like they are the ones in control because of the way close-ups are used every time there are suspenseful moments. Soderbergh’s use of characterizations and realism are melded in a way that creates real stress and shocker moments for the audience given his careful direction of Presence.

As the camera/ghost weaves through rooms, the monumental lighting creates an atmosphere that highlights the characters. This produces anxiety in scenes when Chloe is with her boyfriend Ryan (played by West Mullholland). When they are together doing activities, the audience gets the sense that Ryan may be a bad influence. However, since the house can rumble, it feels as if the ghost is the protagonist preventing the antagonistic events in Presence. When Ryan has an evil plan, a rumble erupts. When there is a matter of concern, the camera pans closely on one of the characters. At the same time, the concern regarding what is making the house experience strange episodes is the central concern in Presence. The moving parts from the minds of Soderbergh and Koepp create a intriguing environment where outcomes are unpredictable, and tension spirals.

There are hidden events which may be the reason why there is a spirit lurking around the house.  There are hints in the story about someone who was important but lost. However, it leaves the audience hoping the invisible actions create more good than bad. The realistic human feelings are seen through the eyes of the invisible actions. This film takes a bold and new approach by Soderbergh which is genius and compelling. Three-out of four stars for Presence.